The Untouchables (1987) - IMDb IMDb There was an error trying to load your rating for this title. Some parts of this page won't work property. Please reload or try later. X Beta I'm Watching This! Keep track of everything you watch; tell your friends. Error Federal Agent Eliot Ness sets out to stop Al Capone; because of rampant corruption, he assembles a small, hand-picked team. Director: Oscar Fraley (suggested by book), Eliot Ness (suggested by book) | 1 more credit » Stars: Famous Directors: From Sundance to Prominence From Christopher Nolan to Quentin Tarantino and every Coen brother in between, many of today's most popular directors got their start at the Sundance Film Festival . Here's a list of some of the biggest names to go from Sundance to Hollywood prominence.

DC's Legends of Tomorrow Season 2 Episode 8 Review: The Chicago Way 8 December 2016 7:51 PM, -08:00 | TVfanatic a list of 46 titles created 02 Dec 2011 a list of 36 titles created 03 Jul 2012 a list of 37 titles created 22 Mar 2013 a list of 49 titles created 02 Jul 2013 a list of 40 titles created 15 Aug 2014 Search for " The Untouchables " on Amazon.com Connect with IMDb Want to share IMDb's rating on your own site? Use the HTML below. You must be a registered user to use the IMDb rating plugin. Won 1 Oscar. Another 10 wins & 15 nominations. See more awards » Videos A Puerto Rican former convict, just released from prison, pledges to stay away from drugs and violence despite the pressure around him and lead on to a better life outside of N.Y.C.

Director: Brian De Palma A father becomes worried when a local gangster befriends his son in the Bronx in the 1960s. Director: Robert De Niro An FBI undercover agent infiltrates the mob and finds himself identifying more with the mafia life, at the expense of his regular one. Director: Mike Newell When Robin and his Moorish companion come to England and the tyranny of the Sheriff of Nottingham, he decides to fight back as an outlaw. Director: Kevin Reynolds A convicted rapist, released from prison after serving a fourteen-year sentence, stalks the family of the lawyer who originally defended him. Director: Martin Scorsese A freelancing former U.S. intelligence agent tries to track down a mysterious package that is wanted by both the Irish and the Russians. Director: John Frankenheimer Greed, deception, money, power, and murder occur between two best friends, a mafia underboss and a casino owner, for a trophy wife over a gambling empire. Director: Martin Scorsese After a prank goes disastrously wrong, a group of boys are sent to a detention center where they are brutalized; over 10 years later, they get their chance for revenge.

Director: Barry Levinson In Miami in 1980, a determined Cuban immigrant takes over a drug cartel and succumbs to greed. Director: Brian De Palma A mild-mannered chemist and an ex-con must lead the counterstrike when a rogue group of military men, led by a renegade general, threaten a nerve gas attack from Alcatraz against San Francisco. Director: Michael Bay The true story about an honest New York cop who blew the whistle on rampant corruption in the force only to have his comrades turn against him. Director: Sidney Lumet Lt. John Dunbar, exiled to a remote western Civil War outpost, befriends wolves and Indians, making him an intolerable aberration in the military. Director: Kevin Costner Edit Storyline Federal agent Elliot Ness assembles a personal team of mob fighters to bring Chicago crime boss Al Capone to justice using unconventional means during the mob wars of the 1920s. This fictionalized account of the arrest of Al Capone is heavy on style and gunfire. The end shootout combines a baby carriage and stairs with a nod to Eisenstein's _The Battleship Potemkin_.

Written by Keith Loh <loh@sfu.ca> The Chicago Dream is that big See more » Genres: 3 June 1987 (USA) See more » Also Known As: 70 mm 6-Track (70 mm prints)| Dolby (35 mm prints) Color: Did You Know? Trivia Though the patron saints of police are Michael the Archangel and Saint Sebastian, Irish police officers often carried Saint Jude medals, the patron saint of hopeless causes. See more » Goofs During the train lobby scene when Ness has the gun pointed at the sweaty thug Kevin Costner's gun goes from loaded to unloaded and stays unloaded for each following cut. See more » Quotes [first lines] Title Card: 1930. Prohibition has transformed Chicago into a City at War. Rival gangs compete for control of the city's billion dollar empire of illegal alcohol, enforcing their will with the hand grenade and tommy gun. It is the time of the Ganglords. It is the time of Al Capone.

Reporter : [to Al Capone] An article, which I believe appeared in a newspaper, asked why, since you are, or it would seem that you are, in effect, the mayor of Chicago, you've not simply been appointed to that position. [...] See more » Crazy Credits The title of the aria "Vesti la giubba" from Leoncavallo's opera "Pagliacci" is misspelled in the closing credits of the film: "Vesti la guibba". See more » Connections Orchestra dell'Accademia di Santa Cecilia, Roma Courtesy of London Records, A division of PolyGram Classics, Inc. (Athens, Greece) – See all my reviews "The Untouchables" is in my opinion De Palma's greatest work, with his other masterpiece, namely "Scarface", coming a very close second.

In "Scarface" the focus is on a paranoid and self-destructive gangster who rises to meteoric heights and then falls; in "The Untouchables" the focus is on a very honest man with a noble mission, Elliot Ness (Kostner), who is prepared to do anything to clean Chicago from the corruption and mayhem caused by the notorious gangster Al Capone (De Niro). His quest is really tough, as his opponent is determined and powerful, but he has the help of three invaluable partners: Malone (Connery), a no-nonsense experienced cop, Wallace (Martin Smith), an accountant who will try to help bring tax charges against Capone, and Stone (Garcia), a great shooter. As I noted before the film is brilliantly directed, with some scenes such as the one with the baseball bat, or the one with the baby in the train station, having become classic. The acting is superb, and while Connery was the one who received his well-deserved Oscar, Kostner and De Niro made Oscar-class performances too. Although belonging to a typical genre, this film certainly stands out. Don't miss it! 10/10.

116 of 180 people found this review helpful. Was this review helpful to you? Yes Batter Up - The Untouchables (3/10) Movie CLIP (1987) HD - YouTube Batter Up - The Untouchables (3/10) Movie CLIP (1987) HD Want to watch this again later? Sign in to add this video to a playlist. Need to report the video? Sign in to report inappropriate content. The interactive transcript could not be loaded. Loading... Rating is available when the video has been rented. This feature is not available right now. Please try again later. Uploaded on Oct 6, 2011 The Untouchables movie clips: BUY THE MOVIE: Don't miss the HOTTEST NEW TRAILERS: CLIP DESCRIPTION: Capone's (Robert De Niro) baseball metaphor ends badly for one gangster.

FILM DESCRIPTION: Like the TV series that shared the same title, The Untouchables (1987) was an account of the battle between gangster Al Capone and lawman Eliot Ness, this time in the form of a feature film boasting big stars, a big budget, and a script from respected playwright David Mamet. Kevin Costner stars as Ness, a federal agent who has come to Chicago during the Prohibition Era, when corruption in the local police department is rampant. His mission is to put crime lord Capone (Robert De Niro) out of business, but Capone is so powerful and popular that Ness is not taken seriously by the law or the press. One night, discouraged, he meets a veteran patrolman, Jimmy Malone (Sean Connery), and discovers that the acerbic Irishman is the one honest man he's been seeking. Malone has soon helped Ness recruit a gunslinger rookie, George Stone (Andy Garcia), and, joined by nebbish accountant Oscar Wallace (Charles Martin Smith), the men doggedly pursue Capone and his illegal interests.

At first a laughingstock, Ness soon has Capone outraged over his and Malone's sometimes law-bending tactics, and the vain mobster strikes back in vicious style. Ultimately, it is the most unexpected and minor of crimes, tax evasion, which proves Capone's undoing. All of the credits for The Untouchables boasted big names, including music from Ennio Morricone and costumes by Giorgio Armani. Director Brian De Palma continued his tradition of including a homage to past masters of the cinema with a taut stairway shoot-out reminiscent of a similar sequence in Sergei Eisenstein's Battleship Potemkin (1925). CREDITS: Cast: Ernest Capponi, Robert De Niro, Billy Drago Director: Brian De Palma Producers: Raymond Hartwick, Art Linson Screenwriters: Oscar Fraley, Eliot Ness, David Mamet WHO ARE WE? The MOVIECLIPS channel is the largest collection of licensed movie clips on the web. Here you will find unforgettable moments, scenes and lines from all your favorite films. Made by movie fans, for movie fans.

SUBSCRIBE TO OUR MOVIE CHANNELS: The Untouchables Movie Review (1987) | Roger Ebert Tweet There is a moment in "The Untouchables" when a mobster doesn't want to talk to the law. He has just been captured by federal agents at the Canadian border while trying to run some booze down to Chicago for Al Capone. One of the guy's pals has been shot dead, out on the porch. He doesn't know his partner is dead. Advertisement Sean Connery walks outside, grabs the corpse, props it up against a wall, says he's gonna shoot the guy if he doesn't talk - and then puts a bullet into the corpse and drops it. Inside the cabin, the other mobster decides to talk. It's a moment of quick, brutal improvisation, and it has an energy that's lacking during most of "The Untouchables." Here is a movie about an era when law enforcement resembled gang warfare, but the movie seems more interested in the era than in the war. "The Untouchables" has great costumes, great sets, great cars, great guns, great locations and a few shots that absolutely capture the Prohibition Era.

But it does not have a great script, great performances or great direction. The script is by David Mamet , the Pulitzer Prize-winning playwright, but it could have been by anybody. It doesn't have the Mamet touch, the conversational rhythms that carry a meaning beyond words. It also lacks any particular point of view about the material and, in fact, lacks the dynamic tension of many gangster movies written by less talented writers. Everything seems cut and dried, twice-told, preordained. Advertisement The performances are another disappointment. The star of the movie is Kevin Costner as Eliot Ness, the straight-arrow federal agent who vows a personal struggle against the Capone mob. Costner is fine for the role, but it's a thankless one, giving him little to do other than act grim and incorrigible. The script doesn't give him, and he doesn't provide, any of the little twists and turns of character that might have made Ness into an individual. But the big disappointment is Robert De Niro's Al Capone. All of the movie's Capone segments seem cut off from the rest of the story; they're like regal set-pieces, dropped in from time to time.

De Niro comes onscreen with great dramatic and musical flourish, strikes an attitude, says a line, and that's basically the whole idea. There isn't a glimmer of a notion of what made this man tick, this Al Capone who was such an organizational genius that he founded an industry and became a millionaire while still a young man. The best performance in the movie is by Sean Connery, as an Irish-American cop who signs on as Ness's right-hand man and seems, inexplicably, to know everything about the mob and its liquor business. Connery brings a human element to his character; he seems to have had an existence apart from the legend of the Untouchables, and when he's onscreen we can believe, briefly, that the Prohibition Era was inhabited by people, not caricatures. Advertisement What's good about the movie is the physical production itself. There's a shot of Chicago's La Salle Street canyon, all decked out with period cars and extras, that's sensational. And there are a lot of other nice touches, like Capone's hotel headquarters and the courtroom where his trial is held.

But even the good use of sets and locations is undermined by Brian De Palma's curiously lead-footed direction - curious, because he is usually the most nimble and energetic of directors. Look, for example, at an early scene where Ness and his men are staking out a gang headquarters, and Ness spots a nosy photographer snooping around. The editing is so clumsy that we can't understand why the mob doesn't see Ness and the photographer. (And the photographer himself stays around for the whole picture as an implausible distraction, who somehow is always able to turn up whenever he's needed.) Chicago's bootlegging battles were already a legend by the 1930s, when Warner Bros. turned them into the gangster movie industry. Directors have been struggling ever since to invest them with life, and free them from cliches. The best film about the era remains the uncut original version of Sergio Leone's " Once Upon a Time in America ." De Palma's "Untouchables," like the TV series that inspired it, depends more on cliches than on artistic invention.

Advertisement The Untouchables: Capone’s Gray Suits | BAMF Style The Untouchables: Capone’s Gray Suits Robert De Niro as Al Capone in The Untouchables (1987). Vitals Robert De Niro as Al Capone, legendary Chicago mob boss Chicago, October 1931 Release Date: June 3, 1987 Director: Brian De Palma Tailor: Henry Stewart Background Before Stephen Graham blazed into Capone’s shoes on Boardwalk Empire, Robert De Niro’s extremely method performance of Al Capone in The Untouchables was considered to be the epitome. De Niro infused his performance with the menacing charm that allowed a violent psychopath like Capone to rapidly climb his way up the ladder of the underworld. The extent of Capone’s criminal empire, culminating with the notorious St. Valentine’s Day Massacre in 1929, has lived on to define the Roaring Twenties… or more specifically, Prohibition era Chicago. Obviously, The Untouchables‘ director Brian De Palma had always been interested in bringing Capone’s story to the big screen.

The original Scarface from 1932 was a loose retelling of the real Capone’s story. De Palma initially envisioned keeping the original setting when he remade it, although it obviously became the ’80s cocaine epic we all know and love today. Four years after De Palma’s Scarface hit theaters, The Untouchables made the story of Capone’s undoing accessible to audiences with a clear-cut hero in the form of crusading Treasury Department agent Elliot Ness. Of course, Ness’ actual role in Capone’s downfall has been all but discredited, and the true credit belongs largely to U.S. Attorney George E.Q. Johnson and IRS agent Frank Wilson. On October 17, 1931, Al Capone was finally convicted of income tax evasion after a colorful decade at the top of the organized crime racket in Chicago. 84 years later, BAMF Style is taking a look at one of the most famous portrayals of the brash, headstrong young gangster. What’d He Wear?

For the dramatic confrontations between Ness and Capone (which were fictionalized by the filmmakers, but that’s neither here nor there), Robert De Niro wears light gray three-piece suits cut from designs by the real Al Capone’s original tailors. De Niro takes a few sartorial nods from the real Al Capone, right down to the turnback sleeve cuffs. Noted for his method acting, De Niro personally tracked down Capone’s tailors so he would have identical clothing for The Untouchables, all then made by New York tailor Henry Stewart. Stewart told South Florida’s Sun-Sentinel around the time of the film’s release that he was dismayed by all the publicity that Giorgio Armani was receiving for his role in the production as Armani had nothing to do with De Niro’s wardrobe: I was sitting in the theater during the premiere of the film. De Niro had even given me the tickets. And everyone started applauding when Armani’s name came on the credits… I felt like a real dummy.

Although he passed away in 1993, BAMF Style wants to ensure that Henry Stewart continues to receive due credit for his work in bringing Capone to life on screen through De Niro’s costumes. After a major death in the film, Ness confronts Capone on the lobby stairs of the Lexington Hotel which the gangster had made into his headquarters. Capone, his son, and his bodyguards are heading to a baseball game – as they often did – although Capone hardly looks like a man dressed for baseball in his gray silk three-piece suit. A year later in court, Capone again wears a gray silk suit, although this is a lighter-colored and hardly one that an average man would wear for such a serious occasion. Both suits have single-breasted jackets with wide, pointed peak lapels that sweep down to a single-button closure at the waist. The jackets have broad, padded shoulders with roped sleeveheads. The hip pockets sit straight on the waist with slim flaps, and a white linen pocket square pokes out of the welted breast pocket. Although he played a great Al Capone, De Niro can’t help but to make a good De Niro face.

Best seen during the courtroom scenes, Capone’s suit jacket also has “turnback”-style 3-button cuffs, a natty throwback to a more Edwardian custom. Turnback cuffs were also a staple on many of Nucky Thompson’s early suit jackets on Boardwalk Empire and were also found on James Bond’s first dinner jacket in Dr. No. Underneath both suit jackets, De Niro wears a white dress shirt with a large spread collar, front placket, and French cuffs fastened with silver links. He wears a black silk tie on the Lexington stairs and a dark navy silk tie in court. The subtle tonal pattern in the latter tie is very reminiscent of the tie worn in this photo , which Gentleman’s Gazette mentions actually features a lime green suit. Capone’s dark navy tie is best seen as he receives the horrifying news that he’ll be receiving a fair trial. The vest – or waistcoat – of each suit has six buttons down the single-breasted front to the notched bottom. He wears a gold pocket watch in one of the two lower welt pockets with a gold chain across his belly. Capone’s high-waisted flat front suit trousers have straight side pockets, cuffed bottoms, and belt loops.

He even wears the trousers with a belt, even though many men prefer suspenders or side-adjusted trousers when wearing a vest. His belt, best seen in the opening shave scene, is black leather with a large silver buckle. “On a boat, it’s bootlegging. On Lake Shore Drive, it’s hospitality. I’m a businessman!” De Niro’s Capone also wears a pair of black calf leather cap-toe balmorals with black silk socks. In fact, the socks were another item specifically mentioned in the Sun-Sentinel article by De Niro’s wardrobe consultant Richard Bruno, who reported that they “sent his silk cotton lisle socks to [Sulka] in Paris to have the special clocks sewn on them.” In addition to the socks, De Niro had his dressing gowns and robes monogrammed following Capone’s same pattern found in the Sulka archives. De Niro’s insistence on wearing the same style of silk underwear as Capone is now well-cited as a trait of his method acting.

However, costume designer Marilyn Vance testifies that this decision wasn’t as eccentric as it might seem: “De Niro knew it was there… he needed to feel the richness, the essence of the character.” The real Al Capone would’ve been proud of De Niro’s dedication… although I’m not sure if it’s a good thing for Al Capone to be proud of you. For the confrontation on the stairs of the Lexington Hotel, De Niro wears a luxurious knee-length camel hair overcoat with a brown velvet collar. The coat is double-breasted with six tan horn buttons and peak lapels, each with a stitched buttonhole. It has a welted breast pocket, flapped hip pockets, and buttons on the end of each sleeve. A production photo appears to have caught De Niro in a moment of indigestion. Headed out for the day, Capone also dons a white felt fedora with a wide black grosgrain ribbon.

Bruno recalled a story to the Sun-Sentinel that found him driving the streets of Chicago with Capone’s former bodyguard, and the two ended up in the basement of one of Capone’s old hat shops where they discovered two white Borsalino hat bodies that bore the initials of a Capone alias. Bruno used these hat bodies to create the hats worn by De Niro in The Untouchables. Capone’s final outerwear accessory is a pair of large tortoise-framed sunglasses with brown tinted lenses. Are the glasses an Armani item? Or did De Niro totally eschew the brand association? Although they may be vintage-inspired, the style of the sunglasses is more 1980s than ’30s as most sunglasses that I’ve seen from the era have had thin wire frames. Luxury eyewear firm Maison Bonnet has introduced a pair of “Al Capone” acetate-framed sunglasses that were evidently inspired by a real pair worn by the gangster in 1941 after his release from Alcatraz. Like every flashy gangster should, Capone wears a large gold pinky ring on his left hand. The setting is a dark rectangular stone.

How to Get the Look It’s okay to call a vicious criminal like Al Capone a BAMF when he’s played by a true BAMF like Robert De Niro. In these scenes, De Niro’s tailored attire gives him an authentic degree of coolness that, ironically enough, the real gangster likely never attained.

Gray silk tailored suit, consisting of Single-breasted 1-button jacket with wide peak lapels, welted breast pocket, straight flapped hip pockets Single-breasted 6-button vest with two lower welt pockets and notched bottom Flat front high-rise trousers with belt loops, straight side pockets, and turn-ups/cuffed bottoms White dress shirt with large spread collar, front placket, and double/French cuffs Dark silk necktie Black leather belt with large silver buckle Black calf leather cap-toe balmorals Black silk Sulka dress socks Silk monogrammed underwear White felt Borsalino fedora with black grosgrain ribbon Tan camelhair double-breast overcoat with wide peak lapels, dark brown velvet collar, 6×2 button front, welted breast pocket, and flapped hip pockets Tortoiseshell-framed sunglasses with brown tinted lenses Gold pocket watch on gold chain Gold pinky ring with dark rectangular setting Do Yourself a Favor and… . The Quote You can get further with a kind word and a gun than you can with just a kind word. Footnote When we first meet Capone, he is getting a shave from his personal barber at the Lexington Hotel, surrounded by reporters eager to hear every word leaving his mouth.

According to IMDB, the barbershop set was filled with a number of actual products like cologne bottles and shaving brushes that had been owned by the real Al Capone. For a great breakdown of the real Capone’s style, check out Gentleman’s Gazette . The Gentleman himself, Sven Raphael Schneider, nicely summarizes the unfortunate fact that Capone knew how to put himself together as a fashionplate of the era: At the same time he is a good example that it takes more to be a gentleman than just nice clothes. No matter how nice a criminal dresses and how elegant he portrays himself, he will remain a criminal. According to Schenider’s extensive research, the Capone we see in The Untouchables is outfitted very accurately to his real life counterpart. Share this: Al Capone | BAMF Style BAMF Style Robert De Niro as Al Capone in The Untouchables (1987).

Vitals Robert De Niro as Al Capone, legendary Chicago mob boss Chicago, October 1931 Release Date: June 3, 1987 Director: Brian De Palma Tailor: Henry Stewart Background Before Stephen Graham blazed into Capone’s shoes on Boardwalk Empire, Robert De Niro’s extremely method performance of Al Capone in The Untouchables was considered to be the epitome. De Niro infused his performance with the menacing charm that allowed a violent psychopath like Capone to rapidly climb his way up the ladder of the underworld. The extent of Capone’s criminal empire, culminating with the notorious St. Valentine’s Day Massacre in 1929, has lived on to define the Roaring Twenties… or more specifically, Prohibition era Chicago. Continue reading → The Untouchables (Film) | Mafia Wiki | Fandom powered by Wikia Edit Prohibition in the United States has led to an organized crime wave in the 1920s and early 1930s. Various gangs bootleg vast amounts of alcohol and control their businesses with violence and extortion.

The problem is most serious in Chicago, where gang leader Al Capone (Robert De Niro) has almost the whole city (even the Mayor of Chicago) under his control, and supplies poor-quality liquor at high prices. Treasury Department agent Eliot Ness (Kevin Costner) is put in charge of leading the crusade against Capone and his empire. Ness's initial strategy is to conduct raids using a large squad of uniformed officers, but his first attempt fails when one or more corrupt officers tip off Capone's men about the plan. Embarrassed over the fiasco and seeking ideas for a change of tactics, Ness has a chance encounter with Jimmy Malone ( Sean Connery ), an incorruptible Irish beat cop from Scotland who understands the way Capone does business, and decides to ask for his help. Malone urges Ness to become as ruthless as the gangsters he wants to take down: "He pulls a knife, you pull a gun. He sends one of yours to the hospital, you send one of his to the morgue.

That's the Chicago way, and that's how you get Capone." With corruption running rampant throughout the Chicago police force, Malone suggests that Ness recruit directly from the police academy in order to find team members who have not yet had a chance to come under Capone's influence. Italian-American trainee George Stone, formerly Giuseppe Petri ( Andy García) , is enlisted for his superior marksmanship and calm reactions under pressure. Joined by Treasury accountant Oscar Wallace (Charles Martin Smith), detailed to Chicago from Washington, Ness has built an incorruptible team, capable of combating Capone. Their first raid takes place in a local post office whose storeroom is used to house Capone's illegal liquor. Malone and most of the police know where the alcohol is, but they leave it alone because no one wants to provoke Capone and his gang. The raid succeeds without incident, though Capone later kills the man who had been in charge of the storeroom with a baseball bat. As the four pick up steam and become noted by the press, Wallace begins to probe the finances of the Capone organization. He believes that a feasible method of prosecution is through a tax evasion charge, if nothing else.

At one point, Ness is visited by a Chicago alderman who is also under Capone's control. The alderman tries to bribe Ness into dropping the investigation, but Ness angrily rejects the offer and throws him out in full view of the team. As he leaves, he mockingly refers to them as "untouchable" and says that Capone, who is known as a cop-killer, can get to anyone he chooses, one way or another. The alderman's words prove to be true when Capone's chief hit man, Frank Nitti (Billy Drago), makes veiled threats toward Ness and his family outside his house, and drives off before Ness can capture him. Realizing that Capone has targeted him, Ness orders his wife and daughter moved to a safer place; Malone and Stone then bring word of a large whiskey shipment coming in from Canada, and the team flies north to set up a raid at the border. During the raid, Ness's team and a squad of Royal Canadian Mounted Police officers intercept the shipment, arresting or killing everyone involved. Malone captures one of Capone’s bookkeepers, George (Brad Sullivan), and the team tries to persuade him to provide evidence against Capone.

George initially refuses to cooperate, even after Malone assaults him. However, he changes his mind once Malone shoots a thug (who was actually already dead) in the mouth to frighten him. Enraged even further, Capone orders his men to hunt down and kill Ness (even Ness' family), knowing that with Ness dead, the Untouchables will be finished. Ness's wife, meanwhile, has just given birth to their second child. At the police station, where the Untouchables are being congratulated, Wallace prepares to escort George into protective custody. However, they are both shot and killed by Nitti, disguised as the policeman operating the elevator; when the bodies are found, the word "TOUCHABLE" has been written on the wall in their blood. Ness is left with insufficient evidence to press charges, and the frustration drives him into challenging Capone in public to a physical fight in front of his son and several armed henchmen. Malone intervenes and forces Ness to back down, defusing the confrontation. Malone tells Ness to stall the district attorney from dropping the case while he searches for information regarding Walter Payne, another of Capone's bookkeepers.

A subpoena is issued for Payne, prompting Capone's men to make plans to get him out of town. After a brutal fistfight with Mike Dorsett, the corrupt police chief who sold out Wallace and George, Malone learns of the intended escape. Returning home and calling Ness to arrange a meeting, Malone is stalked by a knife-wielding thug, but quickly drives him out the back door at gunpoint. The stalker proves to have been bait for an ambush by Nitti, who shoots Malone repeatedly with a tommy gun. He is barely alive when Ness and Stone find him, and he shows Ness which train Payne will be taking before dying in his arms. Ness and Stone arrive at Union Station and find Payne guarded by several gangsters. After a fierce shootout (an homage to the famous Odessa Steps scene from The Battleship Potemkin), the two succeed in killing all of the other gangsters and taking Payne alive. Payne testifies in court against Capone, admitting his role in channeling money to Capone over the last three years. Ness, however, notices Capone relaxed and even smiling, despite the probability of serving a long prison sentence, and also sees Nitti carrying a gun in court.

He takes Nitti out of the courtroom with the bailiff and discovers that Nitti has permission from the corrupt mayor of Chicago to carry the weapon. Ness then identifies Nitti as Malone’s murderer after finding Malone's address on a matchbook in Nitti's pocket. Panicking, Nitti shoots the bailiff and runs up to the roof, exchanging gunfire with Ness all the way. Eventually, Ness gets Nitti in his sights, but cannot bring himself to shoot the man in cold blood. Nitti gives himself up to Ness, stating that Malone died "screaming like a stuck Irish pig" and that Ness should think about that when he, Nitti, is tried and convicted for the murder but set free anyway. Enraged at the thought that Nitti will escape punishment for his crimes, and provoked to revenge, Ness pushes Nitti off the roof. He shouts to the screaming thug, "Did he sound anything like that?" before Nitti dies on impact with a parked car. Back inside the courthouse, Stone shows Ness a document from Nitti’s jacket that shows bribes paid to the jurors, explaining Capone's relaxed mood.

The judge has no intention of using it as evidence and is fully prepared to let Capone go free, inadvertently revealing his own corruption or fear of the crime boss. In a last ditch effort, Ness talks the judge into doing the right thing, bluffing him into believing that the judge's name is among those in the bookkeeper's ledger of payoffs. As a result, the judge decides to switch this jury with the one in another courtroom. Before the trial can continue, Capone's lawyer changes the plea of "not guilty" to one of "guilty" without Capone's consent. Capone is sentenced to 11 years in prison. Although it is literally Capone's own lawyer who puts Capone behind bars, Ness receives all of the credit. Ness taunts Capone, who pretends not to hear as he is taken into custody. As he packs up his office, Ness contemplates the Saint Jude medallion that Malone had carried with him for many years (linked to his call box key), and which Malone had given to him before dying. Ness gives the medallion to Stone, reasoning that since Jude is the patron saint of police officers, Malone would have wanted him to have it.

Out on the street, a reporter wishes to have a word from the man who (helped) put Capone away, but Ness modestly downplays his role in the showdown. When the reporter mentions that Prohibition is due to be repealed and asks what Ness might do then, Ness responds, "I think I'll have a drink." Production Edit The media reported that the producers wanted Sean Connery for the movie but could not afford his salary, so he agreed to do the movie for $50,000 with a 10 percent share of the proceeds. The expectation was that the movie would not make much money, so the producers agreed to it. However, it exceeded all expectations and Sean Connery reaped a large amount of money. It was one of the most publicized times that an actor had benefited so greatly from having "bet" on the future of the movie and since then other actors have parlayed their acting skills into taking less up front for a part of the proceeds. The Untouchables was filmed in Chicago, Illinois; Hardin, Montana; and the surrounding areas of Great Falls, Montana.

According to Brian De Palma, Robert De Niro and Bob Hoskins were the prime candidates for the role of Al Capone, and Hoskins, for his brief collaboration after De Niro declined but before he changed his mind, was sent a $500,000 cheque by De Palma. De Niro prepared so thoroughly for the role, that he even wore underwear from that period, even though it would never be seen throughout the movie. Hoskins, meanwhile, later sent a "Thank You" note to De Palma and jokingly asked him if there were any more films he didn't want him to appear in. Box Office Edit The Untouchables opened on June 5, 1987 in 1,012 theaters where it grossed USD $10 million on its opening weekend. It went on to make $76.2 million in North America. The film has received a mostly positive reception from critics and has an 82% rating on Rotten Tomatoes. Vincent Canby, of The New York Times, gave the movie a glowing review, calling it "a smashing work" and saying it was "vulgar, violent, funny and sometimes breathtakingly beautiful".

Roger Ebert, on the other hand, said, "The Untouchables has great costumes, great sets, great cars, great guns, great locations and a few shots that absolutely capture the Prohibition Era. But it does not have a great script, great performances or great direction". Hal Hinson, in his review for the Washington Post, criticized De Palma's direction: "And somehow we're put off here by the spectacular stuff he throws up onto the screen. De Palma's storytelling instincts have given way completely to his interest in film as a visual medium. His only real concern is his own style" Many reviewers reserved the most praise for De Niro and Connery's charismatic performances. Connery, however, won first place in an Empire magazine poll for worst film accent. Pauline Kael called it "a great audience movie--a wonderful potboiler. The Untouchables (1987) | You Talkin' To Me? You Talkin' To Me?

Review by Luke of Oracle of Film Plot: When Federal agent, Eliot Ness (Costner) realises his case against crime lord, Al Capone (De Niro) is going nowhere, he assembles a team of cops prepared to go outside the law to catch him. When looking back at the classic movies, the genre that really sticks out for me is Noir. Noir movies are important for American cinema and often become the landmark films of long ago (Double Indemnity, Chinatown, LA Confidential). Many films look up to the clever direction and writing of these classics. It took me a while to get around to checking it out, but The Untouchables is up there with the best of them. I was a little daunted at the prospect that this is essentially a true story. We all know the story of the infamous Al Capone, who is up there with real life villains like Babyface and dare I say it, Jack the Ripper. There will be hundreds of movies of the character (see 2013’s Gangster Squad).

However, although the irony of the cops catching Capone out on taxes is an amusing thought and a nice concept of justice beating the bad guys fairly, it doesn’t really make much of a movie. Although it keeps to that theme and that side of the story doesn’t waver, De Palma lets the action side of things run its natural course, making this an exciting, nail-biting thriller. I expected a slow, thoughtful Noir biopic with great acting, but little substance. What I got was, for want of a better explanation, the Avengers Assemble of the 80s. Fast, explosive and cinematic genius from every angle. Kevin Costner is great as the stereotypical Noir hero. He is the cop that wants to play by the rules, but slowly realises that it’s no way to wage a war with a man like Al Capone. His transformation throughout the film is interesting and well-played. I am not going to lie; I am not a massive fan of Costner. Luckily, the role isn’t too demanding. He plays it straight and lets De Palma tell his story with silences rather than lines. The trick with a conflicted character like Ness is to imply the drama, rather than full-on acting it.

There isn’t really too many totally emotional moments, but you can always tell there is an internal struggle, behind his eyes. And for me that is one of the true trademarks of a Noir hero. That isn’t to say that Costner couldn’t handle the dialogue. I was kind of waiting for him to trip up on a line, but he never did, always keeping a control on his character. No one really remembers Robert De Niro for The Untouchables, mainly because it is like remembering Jeremy Renner for Avengers Assemble. He is just one of the cogs in a large machine that is this masterpiece. Maybe it is also because Al Capone feels like a mix-and-matched De Niro stereotype. Capone is grotesque, he is cruel and he has a fat cat politician charm. Sometimes it could even argued that it is too much. It feels like it is slightly too try-hard, going for cinematic greatness. The performance really is great, but there are certain beats that fall flat and you end up wishing you were watching a more toned-down version of De Niro, like ‘Casino’ or ‘Godfather’. At the very least, it cements the idea that we should hate this character. Let’s talk about the dialogue.

Sometimes it was amazing. I am surprised I haven’t heard any of this lines quoted more often, because they are some ones worthy of standing next to ‘You Talkin’ to Me?’ or ‘Leave it, Jake. It’s Chinatown.’ Robert De Niro is treated like royalty with his script, stealing show-stopping monologues, probably to make up for the fact that he doesn’t have as much screen time as his co-stars. Sean Connery also has some cracking one-liners – the kind you could only trust with someone from the James Bond school of acting. Kevin Costner has some great quips, usually after killing an unsavoury thug. However, then these great scripted moments are harshly contrasted with some lines straight from a cheesy cop film. The final scene as the heroes contemplate the action is full of buddy cop lines. However, they never feel stupid here. The only reason I can think of to explain why these lines suddenly work is the fact that those lines are earned. While in cheesier movies, those lines convey the serious and emotional nature of a scene, The Untouchables earns that emotion and then uses the lines.

It’s not a cheap shot at epic cinema; it’s an elegant finishing touch on a poignant character arc. The direction was also brilliant. It’s hard to pinpoint an exact moment, because there were so many different techniques of De Palma’s I enjoyed. Usually, with a director, there are certain themes you look forward to. Quentin Tarantino is good with actors, Carpenter is good with tension. De Palma pulls off everything. The scene in the train station was done well, because De Palma took his time to make us momentarily suspect everyone wandering around the building. The scene where the assassins come after Malone is beautifully shot, milking every drop of tension from the moment. Then there is the bloody violence, always shot stunningly. Most people talk about this movie, because of Robert De Niro’s enthusiasm with a baseball bat. Usually I would dedicate an entire paragraph of a review discussing each scene, but because De Palma crams them all into every scene of the movie I would never be able to get through them all. Maybe the thing I love most about ‘The Untouchables’ is the way it cements itself into the classic Noir box. The tone, the costume department, the soundtrack.

It doesn’t milk the Noir element like some neo-Noir movies, like ‘Chinatown’ and definitely ‘Sin City’ do, but it subtly adds the right touches. Anyone that has played the Xbox or PS3 game, LA Noire, will notice several trademarks that have been borrowed from this movie. The chase on the rooftops could also be one of my new, most memorable Noir moments. Share this: YTS - The Untouchables (1987) Download YIFY movie torrent Reviewed by MinorityReporter 9 / 10 My Favorite! Quite a few words spring to my mind when I think of The Untouchables. Words like: Excellence, entertainment, larger than life and Sean Connery. These words basically summarize the entire film from my point of view of course because in my opinion (which I don't expect people to agree with) this is the best gangster film there is. Obviously people aren't going to agree because people prefer the likes of the operatic Godfather trilogy or the ultra realistic Goodfellas but in my head The Untouchables is the best. Here are a few reasons why. First reason is that The Untouchables is just so darn entertaining.

All the other films had completely different aims and even though I love a deep and brilliant story my main objective when I see a film is to be entertained and basically no film does that better than The Untouchables. That does not mean, however, that The Untouchables is just some half baked action comedy. No. There is genuine emotion and real story in this film. The story is, as most people know, loosely based on the actual events during the prohibition era in USA in the 1920s (the story is also based very, very loosely on the series that go by the same name) which to some extent means that what we see on the screen is real making the characters and general story seem that much more believable. This also adds greatly to the already very high entertainment value of the film because it draws the audience in. To add to the realism of the film the dialog is also very memorable and there are some great one-liners including some of my all time favorites in this film. The acting is nothing short of brilliant. This is without a doubt Kevin Costner's best role.

Some people have remarked that he seemed stiff and unable to portray the emotion of the character and to that I can only ask: Were we watching the same movie?! He is a hundred percent believable all the way through. In the beginning he seems a bit too much like a square I-wanna-do-some-good kind of character but as the story progresses he really evolves and becomes more and more emotionally involved in what he does. Both in his friends and in the cause. He even bends some of the rules he initially tried so hard to uphold. Brilliant. Charles Martin Smith does a good job as well and even though his character is very limited he still manages to pull the audience in. Andy Garcia appears in this film in a very limited role as well and he serves his purpose brilliantly. He is the sharpshooter of the group and he is perfectly believable in that part. He doesn't get to say much but what he does get to say is said with as much passion as I have ever heard from him (he seemed a little stale and lifeless in Godfather III). Robert DeNiro is great as Al Capone. He steals every scene he is in and he really brings the larger-than-life quality to the character which is extremely fitting.

The film's best performance belongs to Sean Connery though. The film is for lack of a better expression a Sean Connery tour-de-force. Not only does he steal every scene he is in but he also brings the certain indescribable something to the character that he always does and in every situation you feel with him (as you do in all his films whether he is a villain or a hero). He also got a well deserved Oscar for his performance. People have claimed that the Oscar wasn't as much for this particular performance but an Oscar in recognition of his contributions to the film industry. This belittles his performance which I can safely say is the best of his career and one of the best displays of acting that I have ever seen. The film also has a memorable score made by the legendary Ennio Morricone who is perhaps best known for the work he did with the equally legendary western director Sergio Leone (who doesn't know the score from The Good, the Bad and the Ugly) and in my opinion the score he did for The Untouchables is the best he has ever made.

The score is very unlike most scores from the 80s which does that the film doesn't feel like an 80s film as much as Scarface which I find inferior to this masterpiece. The score is grand and epic just like the story and the effects. For an 80s movie the effects are pretty amazing. Once again everything works. All in all The Untouchables is a riveting story which is highly recommendable to all fans of crime/gangster movies. 10/10 - on my top 10 of best films Reviewed by jcanettis 10 / 10 Brian De Palma's Masterpiece "The Untouchables" is in my opinion De Palma's greatest work, with his other masterpiece, namely "Scarface", coming a very close second. In "Scarface" the focus is on a paranoid and self-destructive gangster who rises to meteoric heights and then falls; in "The Untouchables" the focus is on a very honest man with a noble mission, Elliot Ness (Kostner), who is prepared to do anything to clean Chicago from the corruption and mayhem caused by the notorious gangster Al Capone (De Niro).

His quest is really tough, as his opponent is determined and powerful, but he has the help of three invaluable partners: Malone (Connery), a no-nonsense experienced cop, Wallace (Martin Smith), an accountant who will try to help bring tax charges against Capone, and Stone (Garcia), a great shooter. As I noted before the film is brilliantly directed, with some scenes such as the one with the baseball bat, or the one with the baby in the train station, having become classic. The acting is superb, and while Connery was the one who received his well-deserved Oscar, Kostner and De Niro made Oscar-class performances too. Although belonging to a typical genre, this film certainly stands out. Don't miss it! 10/10. Reviewed by Streetballa 2 / 10 Almost No Redeeming Qualities I was not expecting this movie to be this bad. With Depalma, De Niro, and what looked to be a huge budget with a story that is already compelling enough in real life, there's no reason to make a film this absent of quality. You can tell within the first ten minutes of the movie that the score is going to ruin the movie.

The music was either cliché (smooth touching melodies in every single last moment of vulnerability in the movie) or "action music" that feels like it belongs in homeward bound, not a crime movie. Music was even put into places where it make absolutely no sense whatsoever. Indeed, it sets the tone for the movie itself, which is a tone of farce more than grit. This movie just reeks of farce, from the accountant mowing down people with a shotgun with the nerdy grin symbolizing his transformation from mild mannered nerd to empowered bad-ass to the completely arbitrary scene of Robert DeNiro hitting a guy with a baseball bat (no back story,no plot movement, seemingly no reason for it to be in the movie whatsoever)to Sean Connery getting blasted with seemingly dozens of machine gun bullets, bleeding enough to have died three times over, and yet still having the power to gasp a few more words just as Elliot Ness gets there before finally dying. This movie is filled with enough corny commercial movie tricks and clichés that it just cannot be taken seriously.

This is not a bad thing if you're making a Disney movie, but when you're making a crime drama, (especially one based on real life) realism is probably the way you want to go. This is not even to take into consideration the awful acting throughout the movie. This actually may be why the movie so heavily relies on cheesy music. The actor's performances were so weak that it required cheesy music to make them look better. Kevin Costner is just not a great actor and none of the supporting cast is exactly Daniel-Day Lewis. Sean Connery won an academy award for his performance somehow. I suppose his acting may have not been particularly bad, but his character seemed so manufactured and out of step with reality that he simply couldn't be taken seriously. Maybe in a completely fictitious story it would have worked, but again, not in a story based on real people and real events. If you want to see a farce that tries to be serious, every movie cliché in the book (this is no exaggeration, just look for them) an out of place and overdone score, and substandard acting, then this is the movie for you.

I somehow doubt, though, that the target audience for this movie were movie watchers who enjoyed this type of film. Take out the violence and this movie belongs next to Pete's Dragon on the movie shelf. It's a disgrace to Al Capone and Elliot Ness both and to anyone who likes good movies.

Question: In which 1987 film did Robert De Niro portray the gangster Al Capone?
Answer: The Untouchables